The belief that the spirits of the dead can return to haunt the living exists either as a tenet or as a marginal conviction in all civilizations, whether ancient or modern. More often than not, the dead do not return to reunite the living with their loved ones but rather to lead them into some dreadful snare, entrapping them with disastrous consequences. To be sure, all the departed may return, but some are predestined to haunt: the dead who have been (...) shamed during their lifetime or those who took unspeakable secrets to the grave. From the brucolacs, the errant sprits of outcasts in ancient Greece, to the ghost of Hamlet’s vengeful father, and on down to the rapping spirits of modern times, the theme of the dead—who, having suffered repression by their family or society, cannot enjoy, even in death, a state of authenticity—appears to be omnipresent on the fringes of religions and, failing that, in rational systems. It is a fact that the “phantom,” whatever its form, is nothing but an invention of the living. Yes, an invention in the sense that the phantom is meant to objectify, even if under the guise of individual or collective hallucinations, the gap that the concealment of some part of a loved one’s life produced in us. The phantom is, therefore, also a metapsychological fact. Consequently, what haunts are not the dead, but the gaps left within us by the secrets of others.Because the phantom is not related to the loss of a loved one, it cannot be considered the effect of unsuccessful mourning, as is the case of melancholics or of all those who carry a tomb within themselves. It is the children’s or descendants’ lot to objectify these buried tombs through diverse species of ghosts. What comes back to haunt are the tombs of others. The phantoms of folklore merely objectify a metaphor active within the unconscious: the burial of an unspeakable fact within the loved one.Here we are in the midst of clinical psychoanalysis and still shrouded in obscurity, an obscurity, however, that the nocturnal being of phantoms can, paradoxically, be called upon to clarify. The most recently published book of essays by Nicolas Abraham is Rythmes de l’oeuvre, de la traduction et de la psychanalyse . “Notes on the Phantom” is the preliminary statement of his theory of transgenerational haunting. Nicholas Rand, assistant professor of French at the University of Wisconsin—Madison, is the English-language editor of Abraham’s works. (shrink)